Harmensartblog

No Direction Home

2011-12-29T09:53:00.000-08:00

I'm not at all sure how I came to this point in my life.

Bob Dylan once said that he was born a long way from where he was supposed to be. I feel the same way! ( though, thankfully, I was not born in Duluth, Minnesota)

After watching Scorsese's "No Direction Home" I was moved to reflect on my creative output.

The day before, nursing an aching heart, I read Pippa Blake's auto biography "Journey"

I knew Sir Peter Blake reasonably well over many years as I had been involved on the margins of his various projects when I was a spar maker and rigger (Ceramco and Lion) and then again later as a sign writer (ENZA and NZL 32, Black Magic).

My son Robert was the youngest member of Team New Zealand for two successful defenses of the Americas cup in Auckland and earlier attended Takapuna Grammar school where the Blake's children studied when living in NZ.

Pippa's story reminded me of my own, but it also got me thinking. Like Bob Dylan who spoke of the journey in terms of never arriving at a destination; to arrive would mean death.

Sailing, art, music, family, mortgage (death pledge) all the distractions, self doubt, parental and societal disapproval and lack of support of a chosen path.

I have to leave all that behind me now and take a fresh new path.

I believe that my almost obsessive involvement with the marginal and the different is profoundly symbolized (for me) in the proa. (For a definition of "Proa" please see my other blog "Canoes of Oceania")

Perhaps I was drawn to activities and interests that very few knew much about as a way to withdraw from a society that shunned those that were different.

New Zealand is a new land of immigrants that have settled here in successive waves over the lat 1200 years only.

Each new wave has had to fight for a place and for acceptance. Only the third or fourth generations finally feel as though they have been accepted as a legitimate New Zealander.

This blog has given me an outlet for expression on an international level. My writing has connected me indirectly to an community that I feel a part of at a safe distance. Perhaps that community shares something in common with me other than simply odd shaped sail boats. Reading between the lines of all my writing I begin to see a recurring theme.

Michael Scacht said; "Harmen comes to proas in a way with which I can personally identify: as a vehicle for understanding more than just sailboats. A way of looking at the world. And when I say “the world”, I don’t mean the atoms, I mean the invisible connective tissue".

'"Seek and ye shall find" one of the great teachers said. The seeking itself is the finding, since one can fervently seek only what one already knows to exist.' so says Gabor Mate, MD in his excellent book " When the Body Says No"

In many ways my eccentric quest to explore the different has been an attempt to express a creative urge, though tainted with a pathological fear of success and acceptance. I think I avoided anything that set me up against anything mainstream or conventional for fear that I would be compared with someone more competent than myself and found lacking.

So much of my activity in the arenas of art and sailing has been in isolation, at a safe distance from my community. Frustration has been the result. perhaps this stems from a feeling of being so close and yet so far from what I truly wish for, that sense of belonging, reciprocated by those I love or admire.

In my other existence I have been a professional and semi professional musician. I practiced in complete isolation to become a reasonably competent drummer. Later (perhaps frustrated by my lack of success) I rejected this pursuit and chose a very marginal instrument, the one string bass,
(skiffle bass, wash tub bass, tea chest bass). This instrument I made completely my own. I was considered by my musical peers as a freak, a virtuoso, and much else besides. Few people understood how it was played in tune. Trained musicians of extraordinary skill and virtuosity marveled at its uniqueness (and its strangeness). Somehow though this activity was acceptable in a community that could tolerate (even admire) such eccentricity and I was safe because there was so little to compare me with!

To qualify for those patient enough to have read this far I simply mean to share what I am learning about myself in the hope that I will say or do something that triggers recognition, that catalyzes something that might provide an insight to themselves and in so doing myself as well.

I have an idea for an exhibition featuring self portraits in the context of my journey to date. Another project in the wings are a series of paintings based on Henry Winklemann's 19th and 20th Century, black and white photos of famous New Zealand Keel boats. It could be interesting to look back on my journey whilst moving forward, somewhat like rowing a boat.

Harmen

Sold. Two works by Harmen

2011-11-20T09:49:00.001-08:00

I recently sold 2 more art works.

The first, a Guache and Aquarelle pencil on paper "White Heron, (Kotuku in the Maori language.)

This work went to a Kerikeri couple and is now proudly displayed in their living room.

This image is closely based on a photograph taken by Martin Sanders of Auckland.
The heron was alighting on a post by the Boat Shed Cafe in Rawene near where we live. I built a custom frame to match the image. Douglas Horman provided the Glass and mat board.

The second, to a Kaikohe couple is a tempera and aquarelle pencil on paper called One owner.

The car was abandoned on a tree covered property in Taheke close to where we live. It was being digested my the forest which put things into perspective for me.

The Hand of Harmen has a new owner

2011-10-07T12:09:00.000-07:00

Louis and Sue Toorenberg of Wiotemarama are the new owners of the Hand of Harmen.

Together Louis and Sue own the Labyrinth Woodworks, a popular destination for travelers and regular visitors to the Hokianga District.

The Labyrinth Woodworks shop is located in the Waotemarama Gorge, the shop is an outlet for high quality puzzles, local arts and crafts. Visitors enjoy the wonderful Hedge Maze. The Property is located in the most beautiful of settings surrounded by native Kauri forest and the rages forming the northern fringe of the famous Waipoua Forest.

Louis is a puzzle man, he is an inventor and collector of puzzles, his Puzzle Museum is a must see.

Louis and Sue plan to build a large, colourful Rubik's Cube to be set in the hand as a feature in their sculpture garden.

I can't think of a more suitable location for the Hand of Harmen.

My left hand is for sale

2011-05-01T03:49:00.000-07:00

The hand sculpture featured at the head of this post is now available for sale.

This is a one off opportunity to obtain this unique, quality outdoor sculpture.

The hand was built by me in the early nineties and it retains its durable finish of epoxy primed fibreglass over a polyurethane foam and steel armature.

Please contact me on 09 405 7855 or email < kaurispring@xtra.co.nz > should you wish to discuss ownership.

A guide value would be around the high $2000.00 range.

A wonderful painted screen by Yvonne Rust comes to Light

2011-02-10T20:51:00.000-08:00

Recently I was contacted by someone who's mother knew Yvonne Rust. This person more recently acquired this screen through her mothers estate.

I love it!

Contact me by leaving a comment if you are interested in learning more about this item and I will put you in touch with the owner.

Harmen creates the Elephant

2010-09-06T23:11:00.000-07:00

I just came across this old photo Taken By Arno Gestieger photographer for New Zealand Geographic Magazine.

My family had been part of the focus of an article called "The Invisible Immigrants" by Journalist Yvonne van Dongen. The article features in New Zealand Geographic: Number 15
July - September 1992.
Arno Sought me out at work to take photographs whilst I was at the end of an arduous project building an educational display model of an Asian Elephant for the Auckland Zoo.

I was exhausted after working 36 hours without sleep to meet the production deadline.

Holling Clancy Holling and me

2010-08-21T15:12:00.000-07:00

Holling Clancy Holling and me

On my 7th Birthday my Grandfather, Henk Oostenrijk from the Netherlands, sent me a book voucher.

My Mother and Father took me to a book store in Auckland City where I chose “Seabird,” a beautiful, hard cover book for children written and illustrated by Holling Clancy Holling and published by Collins on the subject of Whaling. My Mother dedicated the book for me by writing my birth date and my Grandfather’s name on the flyleaf.

I no longer have that original copy. It was donated without my knowledge or approval to a local school, fund raising book auction when my children were still attending primary school.

It did solve my Father’s problem of what to give me for my 8th birthday. My obsession that year with “Seabird” gave him the cue. I received from him a copy of “Paddle to the Sea.”

The following year it was “Tree in the Trail”

http://books.google.co.nz/books?id=fjLWevyUu0cC&printsec=frontcover&dq=seabird+Holling+Clancy+Holling&source=gbs_similarbooks_s&cad=1#v=onepage&q&f=false

Those three books changed my life forever. Long before I fully appreciated the literary contents of those books I was gazing in awe at Holling’s illustrations, many of which I copied. Not only that, I began to build my own canoes, models at first and then, on to the real thing.

Like Holling, I had a curiosity about many things and this lead to an interest in the canoes and the people of the Pacific Ocean.

I was compelled to make sailing models of outrigger canoes, whittled out of the dry, woody flowering stems of the flax plant that flourishes in the coastal areas of New Zealand. My friends and I would send them racing across the bay and watch them diminish, longingly, wondering where they might eventually end up, as they dwindled from sight; out to sea.

My first real canoe was designed by New Zealand designer, Frank Pelin and built to his plans by my father and me. That canoe was a 15 foot, plywood, hard chine adaptation of an American Indian birch bark canoe. I named that canoe “Seabird,” the canoe taught me about boat handling from a very young age. I used two types of paddle, the double Eskimo kayak style and the other, the traditional single paddle. My friends and I cruised the sheltered local waterways north of Auckland where we fished and camped all summer long.

Again much influenced by Holling’s realist style and parallel to his path, I chose a career as a commercial graphic artist and mural painter, which eventually lead to sculpture as well. These activities, though not my true passion, helped me to put food on the table for my family.

As I write this I am now in my 50’s and I still cherish and collect copies of Holling’s work. I haunt the children’s section of secondhand bookshops and charity shops always on the lookout for another, yet unseen Holling publication. In this way I have found a 1935 first edition of “The Book of Indians” a later Collins republication of the same title and a 1948 fist edition Houghton Mifflin copy of “Seabird”.

My continuing curiosity about Holling lead me to Walt Giersbach’s blog which seeks to illuminate that which was previously unknown about the life and work of Holling C. Holling and his wife Lucille. Now, thanks to the efforts of people like Joan Hoffman of Michigan and others, details and artifacts from Holling’s life are being collected, displayed, recorded and published so that more may benefit from Holling’s rich legacy, the body of work that he left for our benefit and enjoyment.

Thanks Holling C Holling for daring to follow your dream and so influence the lives of people like me so far away here in New Zealand.

Joan Hoffman, Holling’s biographer wrote me recently:

August 2010

Harmen,

Glad you made contact with Walt.

You and Holling would have had much in common. He had an early interest in canoeing and became very skilled at it. In the Holling Collection is one of his early drawings of a horse drawn at age three.

Holling became a bit better off financially after he wrote and illustrated Paddle-to-the-Sea and the four Houghton Mifflin Co. books that followed (Tree in the Trail, Seabird, Minn of the Mississippi and Pagoo). Before that he did a great deal of advertising and commercial art to put food on the table. He even worked for Walt Disney at times for a pay check. The children's books he wrote before Paddle were done as a sideline. There are about 20+ books Holling either wrote and illustrated or others he illustrated for other authors.

Holling was a talented writer as well as an artist. He wrote some poetry. One of his great assets was a supportive wife. She helped in so many ways. And he had an outgoing personality and could talk with young and old in all walks of life. He had a curiosity about many things.

You won't see any of Holling's work after Pagoo (published in 1957), although he lived until 1973. Unfortunately he developed Parkinson's with dementia. He worked on several other ideas but never completed them.

Joan Hoffman

Yvonne Rust Never Sleeps

2010-07-03T22:09:00.000-07:00

Last June I was invited by the organisers of the Quarry Arts Centre in Whangarei to participate in an art exhibition called "The great Plate, 100 artists 100 plates."

http://s764.photobucket.com/albums/xx286/QuarryArtsCentre/The%20GreatPlate%202010/?start=all

This is an imaginative fund raising campaign whereby selected artists donate their time to embellish a raw, fired, unglazed plate.
Mine came in Mid June in a cardboard courier box well protected with industrial bubble wrap.

I imagined what I might do to contribute the maximum return for the gallery. This decision turned me away from themes of self exploration and political statement to featuring what I have done for many years, portraiture.

It did not take me long to decide on a portrait of the woman after whom the gallery was named, Yvonne Rust. There are very few images of her extant which limited my references.

I found an image in a Whangarei Library photo archive by photographer Florence Keene of Whangarei.
I'm grateful for the online archive. http://collections.whangarei-libraries.com/catalogs.php/39?page=4

I rendered the image on my plate using an aquarelle pencil in a mid tan/ochre colour for the facial skin tones and an HB pencil for the hair, tunic and facial details and contrasts.

Stylistically this duochrome drawing is similar in method to that used by Hendrick Goltzius in 17th C Holland.

Lastly I fixed the image with lacquer fixative. The plate went back into the courier packaging which I then sent back with the courier to the gallery in Whangarei.

Imagine my dismay and disappointment when Amanda from the Quarry art Gallery e mailed me to inform me that my plate was in two pieces, broken during its journey by courier.

Julie had warned me to deliver it personally to ensure that it got there in one piece! Even the courier driver joked as he handed the package over to Amanda that he hoped it wasn't broken. What did he know?

Fortunately Amanda is a jeweller with a gentle touch. She set about repairing the break with clear, conservation grade epoxy resin. I have yet to see the result though I believe from what Amanda tells me that it is a discrete repair with only a fine line showing.

To add to this story, recently I visited with close friends who lived and worked with Yvonne. They both told me that they were not surprised to learn that the plate had broken. They too had an exploding vessel episode associated with an Yvonne Rust painting and a large glass bowl. They told me that Yvonne hated to have her image taken which explains why I could find so few references of her.

So Yvonne if you are out there I'm glad to have made your aquaintence through your work, your friends and your students. I hope we meet again sometime.

best

Harmen R Hielkema

Arien Hielkema's latest digital project

2009-11-16T21:12:00.000-08:00

Arien has virtually completed his course at Auckland's Media Design School.
This is one of his end of year projects.

Digital rendering created by my son Arien J Hielkema

2009-07-20T22:18:00.000-07:00

Blackadder "Have you never heard of Irony Baldrick?"
Baldrick. "Yeah I have, it's like goldy or silvery"

Three new portrait comissions by Harmen R Hielkema

2008-12-07T20:32:00.000-08:00

Jeen Oostenrijk: H, HB, 2B, 3B Pencil on paper
500 x 350 mm

Lyn: Aquarelle coloured pencil on water colour paper.

Eric: Pencil (F, HB, 2B & 3B) on paper 500mm x 350mm

Another G.H. Elliott watercolour emerges

2008-12-03T00:07:00.000-08:00

Since I published the restoration of the G.H. Elliott water colour "Mountain Mists" I have been approached by the owner of a beautiful river scene painted by Elliott in 1885.
Like the one I restored the frame is dilapidated but in the case of this painting, (also mounted on board with gum arabic) it is in remarkably good condition.
For the sake of documentation I have decided to publish an image of this painting on my blog.
I wonder how many more there are out there?

Restoration of Yvonne Rust painting.

2008-08-17T17:05:00.000-07:00

Valley of lilies: by Yvonne Rust. Acrylic on linen and oil tempered hardboard, 93 x 88 cm.
Before restoration by Harmen Hielkema

This painting by New Zealand artist Yvonne Rust is one of her earlier works from her Northland, Opua period and is one of a series of lily paintings.
The scene is of a valley surrounded by trees, white arran lilies feature in the fore and middle grounds. The canvas is of raw unprimed linen glued onto oil tempered hardboard. In the painting of this work Yvonne chose acrylic as her medium. She layered it on straight from the tube in an energetic and impressionistic style.

I believe that the finished painting spent some time folded up before it was glued to the board. Evidence of this lies in the obvious fold damage visible as two vertical lines bisecting the painting vertically where the paint has cracked and flaked off the linen substrate.

This painting features regular areas of bare or exposed linen where her brush has either missed or been dragged dry over the surface. In other areas the paint has been loaded on to the extent that as it dried over time it has become brittle showing long cracks.

I have consolidated the loose paint with PVA resin and cleaned the entire surface with a combination of methyl alcohol and water with a small dilution of potassium and sodium hydroxide.

Surface contaminants appeared to consist of mold, dust and insect spots which were removed with minimal disruption to the painted surface.

It was then considered appropriate to varnish the surface to further consolidate the paint and to protect it from further dirt infiltration.

In discussion with the owner it was decided that a mat varnish would best suit the piece to retain it's original overall appearance. Two coats of varnish were applied.

The finished result is not a startling transformation, however its long term survival is now assured. To further protect the piece I have recommended that it be re framed behind glass.

Valley of lilies: by Yvonne Rust. Acrylic on linen and oil tempered hardboard, 93 x 88 cm.
After restoration by Harmen Hielkema. 18th August 2008

Restoration of an early New Zealand Watercolour

2008-07-24T13:51:00.000-07:00

G. H. Elliott: “Mountain Mists”
Taipo Valley, Westland.
Condition report and Conservation of a late 19th, early 20th century,
New Zealand water colour

I believe this painting to be the work of a very competent landscape water colourist and one of significance to the history of art and artists of New Zealand. (Refer to the dossier of print derived from various sources from the internet relating to G.H. Elliot & the Canterbury School of Art of which he was director from 1886 to 1905).

http://www.artschool125.co.nz/SelectiveChronology/1900_1910/

The painting at the time of writing, so far as can be ascertained, has been in the possession of descendants of G.H. Elliot continuously until it was uplifted by Fran who sought me out & instructed me to carry out the restoration work. The painting came to me in dilapidated condition with all the component parts separated.

Parts included:
1: Gilt frame.
2: glass.
3: White painted matt board with inscription Mountain Mists Taipo Valley Westland.
4: Watercolour painting signed by artist G.H. Elliott on paper mounted with gum arabic onto old cardboard backing.
5: Backing card with stamped inscription from a commercial framer.

Gilt frame:
Badly chipped at the corners and on the relief moldings with several sections of the decorative gilded surface missing. All miter joints had started.

Lower left corner.

Lower right corner.

Top Right

Top left

Removed several large nails from frame rebate.
All joints thoroughly cleaned. Frame was re glued with aliphatic PVA resin and clamped. All old steel corner fastenings were examined and left in place to avoid further damage to delicate composition detail.

A cast was taken from an undamaged section of the frame relief with dental algenate and a new section was cast in the impression with a polyester resin filler.
The missing sections were replaced with new, fitted inserts. Small saw cuts were made into the edges of the damaged corners and inserts of timber were glued in to rebuild the corners to a neat , sharp external right angle. The repairs were primed and resurfaced with spirit based antique gold metallic paint. Much of the surface paint was damaged past touch up level so the decision was taken to refinish the whole frame.

Glass cleaned, Matt board cleaned with moist tissues and repaired with gesso filler. All blemishes retouched with appropriate white paint.

Painting:
The decision was taken to clean the painting in accordance with a procedure described by conservator Christine Smith from her paper published by the American Institute for Conservation, Volume 17, 1998.
“Inpainting/overpainting paper art using mixed dry pigments & complimentary colours”

Before repair showing foxing, moisture damage, abrasion/gouging to paper and insect damage. Please note the deeper colouration around the image, this being the result of acid foxing and protection from sunlight by the matt board. The matt has been poorly repainted at some time since its original framing. There is a vertical “cut in” line of white paint evident on the right and left of the image which is untreatable.

Detail of surface damage: Moisture damage and vertical paint line evident.

Detail of surface damage:

Further detail of deep scoring damage in river foreground.

Cleaning was achieved by finely grating a pencil eraser over the entire surface of the work, which was then gently rubbed over the painting with a soft brush, lifting loose dust and contaminants from the paint surface & considerably revealing the pigment colours and generally improving the appearance of the work.

After cleaning pigment powders were prepared from high quality pastels ground by blade on a glass surface. Watercolour paints were generally of the dried cake variety at the time of painting and I made an educated guess at the likely colours used by Elliott from such a palette. The pigments were mixed to match each area of damage and applied with the use of a selection dentists “points.”

Areas of damaged paper were carefully in-filled and over-painted using dry pigment only. All obtrusive foxing marks were disguised in the same manner.

After conservation treatment. (click on image for detailed view).

All processes were chosen for reversibility should the work be subject to further conservation treatment in the future.

Every care was taken to retain the original qualities, colours, details and composition of the original work.

Details of the repaired frame.

Refitting painting in frame:

The Elliott painting back in its frame.

The decision was made to follow contemporary archival practice in the replacement of the painting back into the refurbished frame.

At re assembly it was found that the glass no longer fitted the rebate of the repaired frame by an excess of 2 mm. It is assumed that the glass was cut to fit the frame at a time when the miter joints were partially separated later in the life of the painting. A correctly fitting replacement 3mm glass panel was the only practical solution.

A narrow length of double-sided tape was laid onto the back of the glass around the perimeter. Four strips of mylar were cut and fitted onto the back of the glass surface, overlapping the edges & secured by the tape. Once assembled the tape and mylar are obscured by the rebate of the picture frame. The mylar strips were folded back to create an envelope. As the glass was placed into the rebate, into the envelope was placed the mat board, cardboard positioning strips, painting, acid free backing sheet and backing card in a sandwich. Finally the protruding mylar strips were folded over and taped down to the backing card thereby sealing the painting, behind its mat board, airtight against the glass. The enveloped sandwich was then secured with small plated nails in the traditional manner and taped over with framing tape.

The finished result is not without its blemishes however the evident damage has been minimized to the naked eye. The dry pigment repairs to the painting can be seen in raking light on close inspection. The frame, though not sporting its original finish (because of the extensive damage and marking) is as like to the original as could reasonably be achieved within the scope of this restoration.

Harmen Hielkema, Artist designer, (B.A, BSD), Waima Lodge. Dated: 23/7/08
www.harmen.co.nz Ph. 09 405 3808

Harmen's retrospective sign art

2008-05-01T01:15:00.000-07:00

The following signs are next to each other in line down Beaumont Street near the entrance to Westhaven Boat Marina.
All these signs have lasted through 15 years, a long time in this industry & in this city! (Auckland) Testament to my philosophy that quality workmanship is appreciated and valued.
They are only a fraction of the work that I have been involved in, some of it simply escaped without being recorded, still more will appear in due course.
I wish to acknowledge the people with whom I had the pleasure of working during my time as a sign writer and mural painter, the team at Signing On, particularly Ross, Tom & Joy Hall, Mike Tolley, Dylan & Damien Lee, Chris Verral, Canon Smith, Al (Bundy) Wier, Mike Stoneyman, Mark James, Anthony Gray & Jimmy Z; couldn't have done it without you!

Starting with the big plywood Coke bottle on the side of the lunch bar, 1992: I took this photo in 2005 and it still looks fresh!
I painted this large installation with automotive lacquer after cutting out the form from 6 sheets of 8'x 4' plywood. The ice cubes are partly painted onto the building and some are also from plywood. The blue sign emerging from the right side of this photo is the next sign job featured...

Bean Rock Lighthouse: 1992, also still there in 2005 and looking good!
This was something of a team effort on account of its size.
I painted the blend on the building, water, clouds etc with and automotive spray gun and acrylic paint. With Chris Verral, I built a fiberglass awning in the shape of a reef complete with marine life. The lighthouse was built by my colleague Julian Pirie and me. It's a 1/4 scale replica of an historic wooden light house marking a reef at the entrance to Auckland harbour.
Mural details follow...

Schnapper appearing from around the back of the sign.

Blue Moki swims off nervously.

The reef and shop front awning.

The next shop on the block 1992: Large Mural of storm waves for a marine rescue supply shop.
acrylic house paint on to brick, one of the most difficult of all substrates.
Photo 2005.

Ayers Rock for jacob's Creek wines. 1989.
Before computers and printers dominated the outdoor graphics industry I had to paint these by hand. I painted 10 of these 3 x 10 meter bill boards with very volatile etching inks onto PVC fabric using a combination of airbrush, spray gun and sea sponge.

Graphics on a fleet of 10 vehicles for a local radio station, 1989. Airbrushed on to JAC decal transfer vinyl with automotive acrylic lacquer.

Dave's surf board, 1986
Airbrushed on to foam before glassing.

Harmen's sculpture gallery

2008-03-06T01:38:00.000-08:00

Harmen's left hand: Steel armature, polyurethane foam & fiberglass.

A special thanks here to the boys at Bootleg Design: Carl Moody, Mike Chapman, Garreth Pugh, Ray, Kevin & John. Thanks for sharing your humour at a difficult time for me.

Terminator skull Polyurethane foam & fiberglass
in Bootleg factory. Auckland

Skull on Cherry picker arm

"Fight for life" scull in action.

Felix: Polystyrene foam & epoxy glass fibre

Toby: Steel armature, fibreglass, hemp fibre.
acrylic laquer

Indian Elephant: Polyurethane foam & fibreglass.

Indian Elephant: 2

Thai Golden Elepahant: Ferro cement. Epoxy paint

Boris the spider: Steel armature, Polyurethane foam & fibreglass.
acrylic laquer.

Qantas model aircarft: Polystyrene and
silver iced birthday cake.

Qantas birthday cake.

Max o tac phone: Promo 3.D sign for Motorolla
Plywood, fibreglass, perspex, anamatronics & lighting.

Welder: retail shop front sign. Self portrait. Polyurethane foam, fibreglass, MDF board, polyester resin. Neon and Halogen lighting.

Art Gallery: The work of Harmen Hielkema

2008-03-05T11:04:00.000-08:00

Portraits, drawings and paintings

Elise: coloured pencil on paper. 2008

Kotuku (Maori for white heron): at Rawene.
aquarelle coloured pencil and airbrush on paper. 500mm x 650mm.
Original photo reference by Martin Sanders.

Sarah Kelly of Waima: Pencil on paper. 2008. 500 x 650 mm
Image based on an old 1919 postcard in the collection of the Kelly family.

Nigel Holton: Aquarelle coloured pencil on paper.

Julie Holton: Pencil on paper.

Woman with her horse: Aquarelle coloured pencil on paper.

Cleo: Aquarelle coloured pencil on paper.

Rebekka dancing: Aquarelle Coloured pencil on paper.

Aaria dancing: aquarelle coloured pencil on paper.

Emily: Aquarelle Coloured pencil on paper.

Abigail: Aquarelle Coloured pencil on paper.

Lola: Aquarelle coloured pencil on paper.

Pupuke Sunrise: Watercolour on paper.

Te Wa at Sunset, Coromadel: Watercolour

Takapu @ Ngataringa Bay: Watercolour.

Toroa off Milford: Aquarelle coloured pencil on paper.

Micronesian outrigger canoe: Aquarelle coloured pencil on paper.

Takapu the Gannet: Aquarelle coloured pencil on paper.

One owner: Tempera water colour on paper.

Riverhead house @ Hokianga: Water colour.

Tangaroa: Mural, acrylic over permafil on board, 1200 mm x 2400 mm

Ariki beating home past North Head, Auckland: Acrylic on canvas, 1989
Based on a black and white image by Henry Winkelman, circa 1907